Jazz quartet warps Monk into ecstatic dance

A European jazz quartet, known for their decade-long exploration of Ahmed Abdul-Malik's music, has shifted their focus to Thelonious Monk for their latest album, 'Play Monk.' The group masterfully interprets Monk's compositions, stretching them into absorbing experimental journeys that transcend conventional jazz. They begin with a recognizable rendition of "Bye-Ya," but gradually escalate, contorting Monk's music into an ecstatic dance, reminiscent of a ritual trance state.

This ensemble operates with a unique collective sound driven by repetition, precision, and relentless energy. They have forged a distinctive approach over 10 years, characterized by their ability to play in lockstep without rehearsals or solos, demonstrating an intrinsic understanding of each other's musical intentions. Their latest endeavor applies this honed collective synergy to the celebrated songbook of Thelonious Monk, a composer second only to Duke Ellington in jazz recording history.

On 'Play Monk,' the quartet uses Monk's melodies as a springboard for further experimentation. Their rendition of "Friday the 13th" emphasizes the tune's serpentine nature, creating a hypnotic repetition. The centerpiece, their reimagining of "Round Midnight," expands the familiar standard to 25 minutes, taking it so far out of context that it becomes nearly unrecognizable, akin to a deep inversion of modal jazz innovations.

This daring approach risks exposing their methods but ultimately showcases their ability to innovate. They are not merely reinterpreting the past; instead, Monk's songbook becomes a launching pad for syncretic and forward-looking explorations into the unknown. The saxophone work is often cubist, reducing phrases to isolated sounds and exploring them from every angle.